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No Idea Records

Record Reviews

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ORDER OF THE WHITE ROSE:
War Machine: CD
Nicely done, fairly straight-forward political punk with a kind of dark, almost apocalyptic undertone that still holds onto a decent amount of variance between songs. As in, you know who you’re listening to for sure, they never hop genres, but the songs don’t blend into one thirty-minute opera either. Vocally, the guy’s got his screech down, reminding me a bit of the crooner from Leftover Crack, and there’s the added blessing that the dude’s actually singing about stuff and you can make out what he’s saying. The songs, like I said, come across as varied while still keeping consistent hooks and punch in there—each song’s built on a bedrock of catchiness. Mostly mid-tempo, War Machine kicks it up a few times here and there, most notably on “Armchair General” and “Guilty.” As a whole, it’s a decent outing, and one that’s gotten more than a few plays around here. –Keith Rosson (Unitree)


ORDER OF THE WHITE ROSE:
Ghosts on the Sidewalk: 7"
It’s really hard to find fault with a single that not only sports top-notch artwork by Brian Walsby and Keith Rosson, but is also a benefit for food banks in Maui and Oahu (seems that, contrary to a well-ingrained image of it being paradise for the affluent, Hawaii has homeless people, too). It’s even harder to find fault with said single when it sports two pop-edged punk tunes that not only know to eschew the “pop punk” but also know to get in there, rock the fuck out, and split before their welcome wanes. Kudos to all involved. –Jimmy Alvarado (Unitree)


ORDURES IONIQUES, LES:
Se Soulagent!: CD
Street ambience. French speaking, street punk band from... Canada! Did you think France? I did, until I saw in tiny (I mean tiny) print in the insert. What do I have here? One singer with a mohican and the full charged gear, another female singer – a femme fatale with a good voice – and rounding off the band is the bassist, drummer and guitarist. Tough, working class lads, I presume. Musically, they are very melodic with a stripped down sound that falls within the parameter of what is currently defined as street punk. You could easily place this amongst bands from France in the early ‘80s and wouldn’t know the difference. Sing-a-long choruses with the dual vocals make for a toe tapping good time. Lyrically, I have no clue, since it is all sung in French. I personally took Spanish in high school. I didn’t think I would use French much in a predominantly Latino environment. If they are singing about ignorant shit, I’m going to be pissed. I won’t research it any further so as not to spoil my enjoyment. –Donofthedead (Combat Rock)


ORDURES IONIQUES, LES:
Se Soulagent!: CD
Street ambience. French speaking, street punk band from... Canada! Did you think France? I did, until I saw in tiny (I mean tiny) print in the insert. What do I have here? One singer with a mohican and the full charged gear, another female singer – a femme fatale with a good voice – and rounding off the band is the bassist, drummer and guitarist. Tough, working class lads, I presume. Musically, they are very melodic with a stripped down sound that falls within the parameter of what is currently defined as street punk. You could easily place this amongst bands from France in the early ‘80s and wouldn’t know the difference. Sing-a-long choruses with the dual vocals make for a toe tapping good time. Lyrically, I have no clue, since it is all sung in French. I personally took Spanish in high school. I didn’t think I would use French much in a predominantly Latino environment. If they are singing about ignorant shit, I’m going to be pissed. I won’t research it any further so as not to spoil my enjoyment. –Donofthedead (Combat Rock)


ORGAN, THE:
Grab That Gun: CD
Female fronted gloom pop not too derivative to be quickly dismissed, but also not so consistently enthralling to elicit a heartfelt “wow” when it was over. –Jimmy Alvarado (Mint)


ORGAN, THE:
Sinking Hearts: CDEP

After the self-release of The Organ's two-song 7" earlier this year, everyone in VancouverBC knew they were bound to be something special. Imagine if The Smiths and Joy Division became one, and were all women. This is what you'd get. Numbed, soft, and delicate-at-times vocals backed by that Johnny Marr jangly guitar, thick carrying bass, and drums that give you the feel of ‘60s trash rock, and of course – an organ. The Organ is the second vocalist of the band, leading every track to the next. The standout tracks have got to be "It's Time to Go," (which also appears on their self titled 7") and the title track, "Sinking Hearts"; songs about romance and rock n' roll. Numbing at times, the lyrics are simple but painfully expressive, "Remember when I left you/ I couldn't say your name/ or other crucial things like I love you/  oh, that’s a shame." (from "Sinking Hearts.") Alright, start writing those bitter love letters and diary entries. This album will have girls dancing with boys, boys dancing with boys, and girls dancing with girls. –Sarah Stierch

–Guest Contributor (Global Symphonic)


ORGANIC:
The Life and Times of Sal Sagev: CD

Exactly the sort of dime-a-dozen emo that precipitated my initial downgrade of fervor for punk from fanatic to enthusiastic, when emo began to slide from being something reasonable – nay, GOOD (Embrace, Rites of Spring) – to being the cookie-cutter atrocity-cum-joke it is today. It’s heartening to know a new generation of bands is carrying the torch to fuck it up for today’s kids.

 

–Cuss Baxter (Microcosm)


ORGANISMS:
Rainbow Black + White: CD
Loud rock music with a vague ‘60s influence (mostly courtesy of the inclusion of an organ) and a singer who sounds like he took lessons from Lemmy. –Jimmy Alvarado (Scene Spirit, distributed by Interscope)


ORGANIZED SPORTS:
I’m So Proud of Him: 12”
Speedsters Organized Sports crank out nine tracks of unrelenting hardcore punk, blending the timelessness of Jerry’s Kids’ Is This My World? and the intensity of current flag bearers Direct Control. It’s nothing new musically, for sure. Aesthetically, there’s a bit more to be desired in the artwork department: a black and white photo of some teen that I imagine is some sort of hero to the band. It doesn’t do much for me, especially when the lyrical matter is so bleak and misanthropic. It just goes to show there’s no accounting for everyone’s taste, but maybe you’re a bit easier to please. –Juan Espinosa (Bulkhead / HIV Town, bulkheadrecords@gmail.com)


ORGANS:
Get it Right: 7” EP + Flexi
Five tracks total of raucous ‘60s punk ravers. From the title track, with its requisite harmonica solo, to the brooding “Girl I’m Thinking Of,” to the flexi’s sole foot-stomper, “Makin’ Love,” these guys manage to nail it. –Jimmy Alvarado (Killer Diller)


ORGANS:
Breathing with the Dead: 7”
“Breathing with the Dead” is a mostly acoustic shuffler with atonal vocals, which sets the mood nicely enough. The flip, a garagy barn-stomper called “All Alone,” is the much more satisfying of the two, however. –Jimmy Alvarado (Puta!, putarecords.com)


ORGANZ/O’DEATH, MY CHILD:
DRGZ! DRGZ! DRGZ!: split 12”
Hand printed covers are nice. Noisy rock bands are nice. “Thrashy hardcore” Organz have three bass players and fuck up eight songs so great (greatly?) you won’t care that there’s no regular guitar. In fact, you’ll wish some other bands would get rid of their regular guitars. O’Death keeps the fi kind of low, also lowers the volume, and goes the spooky route with piano and reverbed samples over electrobeats. Just one crappy song on the whole record, and it’s only one second long, so just ignore it. –Cuss Baxter (Calls and Correspondence/Robot Winter/Nail in the Coffin)


ORIGIN OF M:
Struggle: LP
I was hooked on this from the opening riffs of the title track. Origin Of M’s distinct sound is a collision of the raw intensity of hardcore punk meeting the swagger of rock’n’roll. Featuring Mr. Guy, formerly of Gudon, on vocals and Maru, of Asphalt, on guitar, Origin Of M take catchy riffs, incorporate blazing solos into them, and add Mr. Guy’s howling voice to create a ten-track LP that you don’t just listen to, you experience it. The mixed Japanese/English lyrics have a decidedly political bent, and complement the music well. There are plenty of sing-along parts, and some heavy mosh parts that make you want to get low and dance, especially on the song “Suck Up!!” which was one of my favorites on this. I’m totally stoked on this record. –Paul J. Comeau (StraightUp, reallife@straightup-rec.com)


ORIGINAL THREE, THE:
Self-title: 7”
Loud, heavy, overdriven stuff relying heavily on a brooding, trashy ‘60s vibe, though approached with hardcore fervor, right along the lines of bands like We March, Lost Sounds, and The Reatards. The inverted cross on the cover makes this a mandatory Christmas gift for your fave Jesus freak. –Jimmy Alvarado (www.savage.se)


ORIGINAL THREE, THE:
New Orleans Born: 7"
Broke-ass blues by the way of the Lost Sounds, including a guitarist who is now in the Black Lips. It’s effective punk blues (without compromising either one of the terms) mixed with creeping sickness and itchiness. The two songs are swampy and feel like the players are knee-deep in mud, playing on a clear night where all the stars are easy to see and fill up the night. Honest, authentic-sounding stuff. –Todd Taylor (Shake Your Ass)


ORIGINAL THREE, THE: :
Been Dealt a Losing Hand: CD
Uneasy garage punk that evokes a B-horror movie creature somewhere between Jay Reatard and Lightnin’ Hopkins. And like all good B-horror movie monsters, it moves sloppily and none too fast and is often times accompanied by the foggy sounds of some haunted organ—provided here by none other than Lost Sounds’ Alicja Trout. Sounds like it was all recorded in some serial killer’s crawl space. Not as spastic as I usually take my garage punk, but I like it. –aphid (Empty)


OROBOROS:
Self-titled: CD
They’re touting themselves as some neo-tribal melding of world music, electronic and “organic” instrumentation, but this sounds like yer average post-Cocteau goth rock. Not that they’re bad or anything. They’re really good at what they’re doing and I like this a lot. I just don’t get how they’re all that different. Maybe it’s one o’ those things where you gotta go see ‘em. –Jimmy Alvarado (www.crosswinds.net/~oroboros33/)


OROBOROS:
Self-titled: CD
They’re touting themselves as some neo-tribal melding of world music, electronic and “organic” instrumentation, but this sounds like yer average post-Cocteau goth rock. Not that they’re bad or anything. They’re really good at what they’re doing and I like this a lot. I just don’t get how they’re all that different. Maybe it’s one o’ those things where you gotta go see ‘em. –Jimmy Alvarado (www.crosswinds.net/~oroboros33/)


OROKU:
Living Through the End Time: CD
Noisy, speedy metal stuff rife with guttural roars and pain-filled lyrics like, “Decay, rotting, eroding mind filled with piercing pain/ Trusting no one/ Remember the past/ Scars run deep/ Repeat the cycle again.” –Jimmy Alvarado (Inimical)


ORPHAN CHOIR:
Self-titled: CD
If you took a good punk band, added two tablespoons of Bryan Adams, one teaspoon Leatherface, two teaspoons rotting Bruce Springsteen (in a bad way), stirred, and put it in the microwave, this is what you’d get. Slightly gruff lyrics (think, roughly, Against Me), on the poppy end of things. With the lyric, “only the good die young/and we’re no good baby, no damn good.” If this were a cereal, it’d be French Toast Crunch: a mix of bad ideas. –Maddy (Art Of The Underground)


ORPHANS, THE:
Chinatown: 7"
Two tracks of trashy rock'n'roll that sound like they just got back from a time trip to mid-'90s San Francisco. Both tracks are plenty rockin', but my preference is for "Moscow Massage," the peppier of the two. –Jimmy Alvarado (www.kapow.com)


ORPHANS, THE:
Electric S b/w W.W.W.D.: 7”
Live, the Orphans dominate. Wade, the bass player, is unplugged half the time, busy on conking someone over the head with his stand and swinging his bass like a bat on a rope. Jenny can’t stand still, and is often cleaning the floor with her back as she slithers around, the arc of her prowling defined by the length of her mic cord. Brandon’s an absolute basher. Dann doesn’t move too much, but it’s really a mind trick because he gets so much sound out of what’s he’s playing, like he’s got a secret third hand that no one else can see. Live: awesome. On record: on par awesomeness. What’s sometimes not obvious live (via okay PA and the limitations of DIY) is that how layered their songs really are. Smart, hardcore leads are snuggled up to blunt garage. Tricky little bridges and intros tie them altogether, so there’s both considerable weight to the obvious “fuck-you-ity” and nimble movement to keep it far and away from being generic. Say, for purely hypothetical reasons, The Orphans came out in L.A. in ’77. They’d be neck and neck with The Bags, The Screamers, and The Weirdos. Being that it’s 2005 and L.A.’s fractured all to hell, punk’s getting dirty and neglected again, and not as many people are paying attention, do yourself a favor and pick up one of the finest 7”s this year will likely see and people will be seeking out for years to come. –Todd Taylor (Vinyl Dog)


ORPHANS, THE:
Electric S b/w W.W.W.D.: 7”
Remember the time you drank so much cough syrup at that Oblivians show that you puked up cigarette butts onto the hood of somebody’s car and then you woke up the next morning on a pile of trash with a black eye and somebody else’s pants on? This is like two songs of that. –Josh (Vinyl Dog)


ORPHANS, THE:
Raise the Youth: CD
Not to be confused with the L.A. Orphans, these guys, who are from Philly, I believe, play some mighty nice hardcore with intelligent lyrics and enough surprises thrown in to keep interest from waning. Wasn’t too hip on their forays into ska punk, and the production on a good chunk of the songs was kinda thin, but, on the whole, they put in some good work and it shows. –Jimmy Alvarado (Fistolo)


ORPHANS, THE:
Everybody Loves You When You’re Dead: CD
Rock and roll is at a weird place right now. It’s kind of disheartening to know that there are bands out there that cite Led Zeppelin and Nirvana as major influences. I don’t get it. Those bands sucked the first time, so why would I want to hear some hipster fop in vintage jeans regurgitate some half-assed ripoff? I don’t know. All I know is that this Orphans album will kick you in the dick and you’ll ask for seconds. Rock and roll hasn’t sounded this vital in a long time. It kind of sounds like an old Dangerhouse punk band like the Avengers spliced in with the whoopass-o-rama of the Motards, but mostly it just sounds like the Orphans. Blood, sweat, and barbecue vomit, all rolled up in one neat little package.  –Josh (Unity Squad)


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